TITLE: Editing and the Illusion of Thought AUTHOR: Eugene Wallingford DATE: December 26, 2014 8:32 AM DESC: ----- BODY: Martin Amis, in The Paris Review, The Art of Fiction No. 151:
By the way, it's all nonsense about how wonderful computers are because you can shift things around. Nothing compares with the fluidity of longhand. You shift things around without shifting them around--in that you merely indicate a possibility while your original thought is still there. The trouble with a computer is that what you come out with has no memory, no provenance, no history--the little cursor, or whatever it's called, that wobbles around the middle of the screen falsely gives you the impression that you're thinking. Even when you're not.
My immediate reaction was that Mr. Amis needs version control, but there is something more here. When writing with pencil and paper, we work on an artifact that embodies the changes it has gone through. We see the marks and erasures; we see the sentence where it once was once at the same time we see the arrow telling us where it now belongs. When writing in a word processor, our work appears complete, even timeless, though we know it isn't. Mark-up mode lets us see some of the document's evolution, but the changes feel more distant from our minds. They live out there. I empathize with writers like Amis, whose experience predates the computer. Longhand feels different. Teasing out what what was valuable, even essential, in previous experience and what was merely the limitation of our tools is one of the great challenges of any time. How do we make new tools that are worth the change, that enable us to do more and better? -----